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Profile: Alison F Ross (Monash University)
  1. Amir Ahmadi & Alison Ross (2012). Jim Jarmusch's Dead Man. Angelaki 17 (4):179 - 192.
    Jim Jarmusch's Dead Man is a modern myth. Like many ancient myths it seems to have the structure of a rite of passage analysed by van Gennep into three stages: separation, marginal existence and reintegration. Separation is precipitated by a traumatic event and the marginal state is characterized by extraordinary experiences and feats. However, Jarmusch's tale does not quite fit the ancient initiation pattern since the last stage, reintegration, is at least prima facie missing. This already undermines the social function (...)
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  2. Alison Ross (2012). Agamben's Political Paradigm of the Camp: Its Features and Reasons. Constellations 19 (3):421-434.
  3. Alison Ross (2011). Moral Metaphorics: Kant After Blumenberg. Thesis Eleven 104 (1):40-58.
    This paper examines the role of formal, aesthetic elements in motivating moral action. It proposes that Blumenberg’s analysis of the existential settings of myth and metaphor provide a useful framework to consider the conception and function of the aesthetic symbol in Kantian moral philosophy. In particular, it explores the hypothesis that Blumenberg’s analysis of ‘pregnance’ and ‘rhetoric’ are useful for identifying and evaluating the processes involved in self-persuasion to the moral perspective.
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  4. Alison Ross (2011). Moral Metaphorics, or Kant After Blumenberg: Towards an Analysis of the Aesthetic Settings of Morality. Thesis Eleven 104 (1):40-58.
    This paper examines the role of formal, aesthetic elements in motivating moral action. It proposes that Blumenberg’s analysis of the existential settings of myth and metaphor provide a useful framework to consider the conception and function of the aesthetic symbol in Kantian moral philosophy. In particular, it explores the hypothesis that Blumenberg’s analysis of ‘pregnance’ and ‘rhetoric’ are useful for identifying and evaluating the processes involved in self-persuasion to the moral perspective.
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  5. Alison Ross, Expressivity, Literality, Mute Speech.
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  6. Alison Ross (2010). The Modern Concept of Aesthetic Experience: From Ascetic Pleasure to Social Criticism. Critical Horizons 11 (3):333-339.
    This paper examines the use of “pleasure” as the distinguishing mark of aesthetic experience in post-Kantian philosophy. It shows how the distinctive features of aesthetic experience, such as pleasure, qualify this experience as a platform for social criticism. The key argument is that the autonomy of the aesthetic experience is not “false”, rather it is paradoxical in the strong sense that the fact of its communicative efficacy, which follows from distinctive, “autonomous” aesthetic features, necessarily loads it with functions and expectations (...)
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  7. Alison Ross (2010). The Moral Efficacy of Aesthetic Experience: Figures of Meaning in the Moral Field. Critical Horizons 11 (3):397-417.
    This paper proposes to analyse the process that makes paths of action meaningful. It argues that this process is one of ‘figuration’. The term ‘figuration’ intends to outline how the experience of moral meaning is one that already positively marks out a field and to identify and analyse the mechanisms used for such marking and selection. It is my contention that these mechanisms predate the persuasion to a moral path; they are the process through which this path is constructed as (...)
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  8. Alison Ross (2009). The Aesthetic Fable. Substance 38 (1):128-150.
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  9. Alison Ross (2009). What is the Force of Law in Kant's Practical Philosophy? Parallax 51 (1):27-41.
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  10. Alison Ross (2008). 'Art' in Nancy's 'First Philosophy': The Artwork and the Praxis of Sense Making. Research in Phenomenology 38 (1):18-40.
    For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two different (...)
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  11. Alison Ross (2008). Derrida's Writing-Theatre: From the Theatrical Allegory to Political Commitment. Derrida Today 5 (1):76-94.
    This article analyses some of the shifts in tone and argumentation in Derrida's work by comparing the treatment of the topics of theatre and theatrical representation in his early writing on literary and philosophical texts with the conception of a politically committed ‘ethics’ in his late work. The topic of theatrical representation is particularly useful for a critical assessment of Derrida's later ethics because it allows us to give careful consideration to his position on different types of, and contexts for, (...)
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  12. Alison Ross, Why is 'Speaking the Truth' Fearless? 'Danger' and 'Truth' in Foucault's Discussion of Parrhesia.
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  13. Alison Ross, The Aesthetic Anomaly : Criticism, Art and Politics in European Philosophy (From Adorno to Ranciere).
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  14. Alison Ross (2007). The Aesthetic Paths of Philosophy: Presentation in Kant, Heidegger, Lacoue-Labarthe, and Nancy. Stanford University Press.
    This book examines the ways that Heidegger, Lacoue-Labarthe, and Nancy adopt and reconfigure the Kantian understanding of "aesthetic presentation." In Kant, "aesthetic presentation" is understood in a technical sense as a specific mode of experience within a typology of different spheres of experience. This study argues that Heidegger, Lacoue-Labarthe, and Nancy generalize the elements of this specific mode of experience so that the aesthetic attitude and the vocabulary used by Kant to describe it are brought to bear on things in (...)
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  15. Alison Ross, Desire.
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  16. Alison Ross, Plato (Anti-Platonism).
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  17. Alison Ross (2005). The Art of the Sublime. Philosophy Today 49 (1):33-45.
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  18. Alison Ross (2004). Historical Undecidability: The Kantian Background to Derrida's Politics. International Journal of Philosophical Studies 12 (4):375 – 393.
    This paper deals with Derrida's analysis of Kant's Critique of Judgment in his essay 'Economimesis'. I argue that Derrida's analysis of Kant's aesthetics can be used to describe the aporia within Kantian politics between rebellion and progressive revolutionary acts. The focus of my argument falls on examining how the recent debate over Derrida's ethics can be usefully considered from the background of this treatment of Kant. In particular, the analysis Derrida gives of Kant's aesthetics commits him to a series of (...)
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  19. Alison Ross (2001). Errant Beauty. International Studies in Philosophy 33 (2):87-104.
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  20. Monique David-Ménard & Alison Ross (2000). Kant's "An Essay on the Maladies of the Mind" and Observations on the Feeling of the Beautiful and the Sublime. Hypatia 15 (4):82 - 98.
    David-Ménard examines the problem of the genesis of Kant's moral philosophy. The separation between Kantian practical reason and the inclinations of sense which it regulates is shown by the author to originate in Kant's attempt to regulate his own tendency to hypochondria. Her argument links the themes from two of Kant's pre-critical works which attest to this tendency--"An Essay on the Maladies of the Mind" and Observations on the Feeling of the Beautiful and the Sublime--to the final form of the (...)
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  21. Alison Ross (2000). Introduction to Monique David-Ménard on Kant and Madness. Hypatia 15 (4):77-81.
    : Ross examines the relation between thought and madness within the practical and theoretical wings of Kant's critical philosophy. She argues that the notion of critique is formulated as a guard against the tendency of thought to madness. She locates the significance of David-Ménard's essay on Kant's pre-critical works in the idea that Kant's own tendency to madness functions in these early works as a motivational principle for the mature, critical system.
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